Category: Rock (Page 87 of 241)

Our Lady Peace: Burn Burn

Canadian rock band Our Lady Peace has been around for a while – seven studio albums now, to be exact, and their latest, Burn Burn, hit streets last month. And while the members of OLP claim to feel great about having more creative control at this point in their career, they have not used that control to do anything earth-shattering here. In fact, the band has regressed a bit, and has begun to gravitate toward the adult contemporary end of the radio dial. Bands like Creed, Nickelback, and the Goo Goo Dolls have lived in radio suburbia for years, and now OLP has entered the neighborhood, as this batch of songs on Burn Burn are at times catchy, but mostly dull and lifeless. Many bands like this that used to be cool and alternative have softened greatly, having succumbed to years of record execs telling them to write “hits.” The first single off of Burn Burn, “All You Did Was Save My Life,” is a prime example, a formulaic track that you will tire of before the song has even played through. “Dreamland” and “The End Is Where We Began” also lean toward sugary pop, though it’s worth pointing out that singer Raine Maida can still bring it. One of the bright spots here is “Never Get Over You,” which may remind you of the Spiritual Machines days, but mostly, as on “Signs of Life,” there just aren’t many on this album. (LABEL: Warner Music Group)

Our Lady Peace MySpace Page

Stardeath and White Dwarfs: The Birth

Can nepotism be a genre? Seriously, these guys are the Flaming Lips Jr. Supposedly frontman Dennis Coyne is Wayne Cone’s nephew, but maybe that’s a cover story (kind of like how Jack Nicholson was led to believe his mother was his sister) and there’s some deep-seated family secrets hiding the truth and he’s actually Wayne’s secret son. Whatever the case, these guys don’t only sound like the Flaming Lips, they even seemed to have employed the same design team, as the cover art and liner notes ofThe Birth look like rejects from the the Yoshimi cover design sessions. Dennis worked as a roadie for his uncle’s band for a few years, so maybe the Flaming Lips are the only band he’s ever heard. It would make sense. Stop me if any of this sounds familiar; Beach Boys-style vocal harmonies, occasional psychedelic freak-outs, oblique lyrics about space, lasers and even a Superman reference. Really? Musically there is nothing wrong with this record, there is even one stand-out track, the bass-heavy “Those Who Are from the Sun Return to the Sun” but…it sounds just like the Flaming Lips! What’s the point? If I wanted to hear the Flaming Lips, I’d listen to The Flaming Lips, not their junior varsity squad. (Warner Bros 2009)

Stardeath and White Dwarfs MySpace Page

Tim Easton: Porcupine

After four albums of portraying himself as the sensitive singer/songwriter type, Tim Easton returns to his roots and offers up a kinetic collection of jittery, frayed and unhinged rock ‘n’ roll clearly designed to usurp any more melodic impressions. As its title implies, Porcupine is embossed with a jagged edge and a prickly sensibility, given there’s only two actual ballads to speak of – “Stone’s Throw Away” and “Long Cold Night in Bed” – and they’re a moribund selection at that. “Seventh Wheel” offers the most orthodox attempt at conveying purely catchy choruses, but the rest of the set comes across as a cache of edgy, agitated, insurgent leanings, with at least a pair of tracks – “Get What I Got” and “Baltimore” specifically – suggesting that Easton may have sourced his inspiration from two of rock’s better-known procurers of angst and outrage, John Lennon and Steve Earle, respectively. And speaking of influences, it’s hard to avoid the comparisons churned through “Northbound,” a deft reflection of Creedence Clearwater Revival in early swamp-infested mode. Still, Easton also manages to maintain his knack for pointed – and poignant – observation, via what ultimately gels as the album’s standout selection, “Broke My Heart.” “There are only two things left in this world / Love and the lack thereof,” he sings, oozing a combination of resolve and recognition.
Fortunately, for all its unsettled, topsy-turvy miasma, Easton finds some stability residing at the heart of this foreboding beast.

Tim Easton MySpace page

Pint Shot Riot: Round One

Hailing from the West Midlands and cribbing from the best of britpop, post-punk and pub rock, these
guys are so British they probably shit the Queen. On their debut EP, the aptly titled Round One, the foursome delivers with a trio of tracks that are rawer than Arctic Monkeys and made of pure, Union Jack energy. First there is“Punches, Kicks, Trenches and Swords,” which is the anthem to a violent night out if there ever was one. It’s followed by the equally energetic “Holes” and “Start Digging,” all of which are rowdy stompers tailor made for filled pubs and small clubs full of sweaty maniacs. Those three songs are great, but unfortunately Round One is a six-track EP. The other half consists of slow to mid-tempo acoustic tracks, which are labeled as “acoustic versions,” implying that the plugged versions exist somewhere. These quieter songs are interesting and still upbeat and full of energy, but they’re not the same as the explosive, hard-rocking numbers that accompany them. They sound neutered, as if they removed the energy from them for the sake of artistic diversity. If electric versions of these tracks exist hopefully they’ll get put on Pint Shot Riot’s first proper LP, because diversity is nice, but fast-paced fist-pounding rock is preferable any day of the week. (Life In The Big City Records 2009)

Pint Shot Riot’s MySpace Page

Online battle of the bands to determine spot at ACL festival

Sound and the Jury (S&J), a virtual battle of the bands, is returning for a third year, offering one lucky band the opportunity to perform on the Dell Stage at this year’s Austin City Limits Festival (ACL) in early October. Bands of all genres will have a chance to upload their music, have their fans vote and try and earn a spot on the stage alongside the likes of Arctic Monkeys, Sonic Youth, Phoenix, Mos Def and Passion Pit. Last year’s winner, The Steps, released and album this year and went on tour in support of it. ACL takes place October 2-4 in Austin, Texas.

Think your band has what it takes? Here are the official rules, and good luck!

How It Works
Round One is live now and bands can upload their music at The Dell Lounge to enter the competition. To stay in the game, bands must generate as many votes as possible to land them in the Top 100 by August 28 and then move on to the next round. From there, a combination of industry judges and fan-voting will narrow down the competition to just five finalists who will perform for a live audience in Austin at Antone’s on September 30. At the end of the multi-round, two-month campaign, one lucky and worthy band will earn a prize spot on the Dell Stage at the ACL Festival.

What’s at Stake
Each of the five finalists will receive $1,500 and a trip to Austin. The winning band will be listed as part of the official lineup and receive an opening slot on the Dell Stage at the ACL Festival. As an official ACL artist, the winner will get artist passes for the entire weekend with access to catering, the artist lounge, and everywhere else bands get to go! The winning band will also receive promotion on delllounge.com, a 15″ Dell Studio laptop, weekend hotel accommodations in Austin, and tickets for some friends the day of show.

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